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Annual Index September 1976-August 1977 Vol. 3
INDEX I- !/oluJne3 Numbers 1-12 ONANTIQUES , September, 1976-August, 1977 AND COLLECTABLES Pages 1-144 PAGES ISSUE DATE 1-12 No.1 September, 1976 13-24 No.2 October, 1976 25-36 No.3 November, 1976 37-48 No.4 December, 1976 49-60 No.5 January, 1977 61-72 No.6 February, 1977 & Kovel On became Ralph Terry Antiques Kovels 73-84 No.7 March,1977 On and Antiques Collectables in April, 1977 (Vol. 85-96 No.8 April,1977 3, No.8). , 97-108 No.9 May, 1977 Amberina glass, 91 109-120 No� 10 June, 1977 Americana, 17 121-132 No.l1 July, 1977 American Indian, 30 133-144 No. 12 August, 1977 American Numismatic Association Convention, 122 Anamorphic Art, 8 Antique Toy World, 67 in Katherine ART DECO Antiques Miniature, by Morrison McClinton, 105 Furniture, 38, 88 Autumn The 0 Glass, 88 Leaf Story, by J Cunningham, 35 Metalwork, 88 Avons other Dee Bottles-by any name, by Sculpture, 88 Schneider, 118 Art 42 Nouveau, 38, Avons Award Bottles, Gifts, Prizes, by Dee' Art Nouveau furniture, 38 Schneider, 118 "Auction 133 & 140 Avons Fever," Bottles Research and History, by Dee 118 Autographs, 112 Schneider, Avons Dee 118 Banks, 53 Congratulations, -by Schneider, Avons President's Club Barometers, 30 History, Jewelry, by Bauer 81 Dee 118 pottery, Schneider, Bauer- The California Pottery Rainbow, by Bottle Convention, 8 Barbara Jean Hayes, 81 Bottles, 61 The Beer Can-A Complete Guide to Collecting, Books, 30 by the Beer Can Collectors of America, 106 BOOKS & PUBLICATIONS REVIEWED The Beer Can Collectors News Report, by the Abage Enclyclopedia of Bronzes, Sculptors, & Beer Can Collectors of America, 107 Founders, Volumes I & II, by Harold A Beginner's Guide to Beer Cans, by Thomas Berman, 52 Toepfer, 106 American Beer Can Encyclopedia, by Thomas The Belleek Collector's Newsletter the ' by Toepfer, 106 Belleek Collector's Club, 23- American Copper and Brass, by Henry J. -
SORS-2021-1.2.Pdf
Office of Fellowships and Internships Smithsonian Institution Washington, DC The Smithsonian Opportunities for Research and Study Guide Can be Found Online at http://www.smithsonianofi.com/sors-introduction/ Version 1.1 (Updated August 2020) Copyright © 2021 by Smithsonian Institution Table of Contents .................................................................................................................................................................................................. 1 How to Use This Book .......................................................................................................................................................................................... 1 Anacostia Community Museum (ACM) ........................................................................................................................................................ 2 Archives of American Art (AAA) ....................................................................................................................................................................... 4 Asian Pacific American Center (APAC) .......................................................................................................................................................... 5 Center for Folklife and Cultural Heritage (CFCH) ...................................................................................................................................... 6 Cooper-Hewitt, National Design Museum (CHNDM) ............................................................................................................................. -
LOTNUM LEAD DESCRIPTION 1 Sylvester Hodgdon "Castle Island" Oil on Canvas 2 Hampshire Pottery Green Handled Vase 3
LOTNUM LEAD DESCRIPTION 1 Sylvester Hodgdon "Castle Island" oil on canvas 2 Hampshire Pottery Green Handled Vase 3 (2) Pair of Brass Candlesticks 4 (2) Cast Iron Horse-Drawn Surrey Toys 5 (4) Glass Pieces w/Lalique 6 18th c. Tilt-Top Table 7 (2) Black Painted Children's Chairs 8 Corner Chair 9 Vitrine Filled with (21) Jasperware Pieces and Planter 10 Bannister Back Armchair 11 (4) Pieces of Colored Art Glass 12 (8) Pieces of Amethyst Glass 13 "Ship Mercury" 19thc. Port Painting 14 (18) Pieces of Jasperware 15 Inlaid Mahogany Card Table 16 Lolling Chair with Green Upholstery 17 (8) Pieces of Cranberry Glass 18 (2) Child's Chairs (1) Caned (1) Painted Black 19 (16) Pieces of Balleek China 20 (13) Pieces of Balleek China 21 (32) Pieces of Balleek China 22 Over (20) Pieces of Balleek China 23 (2) Foot Stools with Needlepoint 24 Table Fitted with Ceramic Turkey Platter 25 Pair of Imari Lamps 26 Whale Oil Peg Lamp 27 (2) Blue and White Export Ceramic Plates 28 Michael Stoffa "Thatcher's Island" oil w/ (2) other Artworks 29 Pair of End Tables 30 Custom Upholstered Sofa 31 Wesley Webber "Artic Voyage 1879" oil on canvas 32 H. Crane "Steam Liner" small gouache 33 E. Sherman "Steam Liner in Harbor" oil on canvas board 34 Oil Painting "Boston Light" signed FWS 35 Pair of Figured Maple Chairs 36 19th c. "Ships Sailing off Lighthouse" oil on canvas 37 Pate Sur Pate Cameo Vase 38 (3) Framed Artworks 39 (3) Leather Bound Books, Box and Pitcher 40 Easy Chair with Pillows 41 Upholstered Window Bench 42 Lot of Games 43 Rayo-Type Electrified Kerosene Lamp 44 Sextant 45 (11) Pieces of Fireplace Equipment and a Brass Bucket 46 (9) Pieces of Glass (some cut) 47 High Chest 48 Sewing Stand 49 (3) Chinese Rugs 50 "Lost at Sea" oil on canvas 51 Misc. -
Parquetry Short
Parquetry Short PARQUETRY 520 540 545 22220 + 22229 51822 22220 565 720 790 22860 46926 54991 While all care is taken, product images may vary in colour due to possible printing process variations. Images are to be used as a guide only to give an idea of the colour and nuances of the pattern, but are not fully representative of the variations among www.moduleo.com.au the planks (which reflects the natural product which inspired the design). For a representative view of the surface structure and variations within the design, take a look at the big samples on display and ask your retailer for more advice. Parquetry Short PARQUETRY TECHNICAL SPECIFICATIONS Collection Parquetry M² per Box 2.4m2 Type Vinyl Plank M² per Pallet 192m2 Elegant Wood Emboss Em- Plank Thickness 2.5mm Surface bossed in Register Rough Sand Dimensions 632mm (L) x 158mm (W) Profile Micro Bevel Wear Layer 0.55mm Protective Coating Protectonite® Planks per Box 24 Finish Matte Colours 6 Installation Method Direct Stick PERFORMANCE SPECIFICATIONS Abrasion Rating Group T EN 660-2 Classification 23, 33, 42 EN ISO 10874 Dimensional Stability ≤0.05% EN ISO 23999 Residual Indentation Norm: ≤0.10mm, 0.03mm EN ISO 24343-1 Castor Chair No Damage EN ISO 4918 Impact Sound Reduction Ln’T,w Result Test Application Ln’T,w Result No underlay Underlay: 2mm rubber 150mm Slab + 28mm Furrings + 10mm Plasterboard 65 54 200m Slab 69 58 ISO140-7 / ISO717.2 200mm Slab + 28mm Furrings + 10mm Plasterboard 64 53 200mm Slab + R2.5 Insulation + 100mm Cavity + 10mm Plasterboard 61 50 250mm Slab + 28mm -
PARQUETRY Join Us for David's Presentation on Monday January 8
Greenville Woodworkers Guild January 2018 David Adler Woodart | PARQUETRY Join us for David’s presentation on Monday January 8. David Adler / A life-long passion When I was a young boy about 9 years old I had a neighbor who was a woodworker and crafter who made all kinds of items. I used to visit him, espe- cially in the summer when I would see him in his garden, and we would go into his woodworking shop sometimes. On one of these visits he saw my inter- est in wood and said, “Working with wood is a bond between man and nature.” These words have stuck with me all these years and are more meaningful to me now then when I was 9 years old. I am basically a third generation woodworker/lover. My grandfather, mother, and her brother were all into woodworking of one form or another. Until now my career has been as a Manufacturing Engineer. This has given me the ability to figure out how to make the Parquetry with different tools. All of my work is handmade, one-of-a-kind. I started doing wood art in September of 2000 (I was a late bloomer). Until then all I did with wood was finish rooms in the houses I’ve lived in, or the odd piece of furniture every now & then. However, since I started this “hobby” it has overtaken my left- brained Engineering life. If I don’t get to work on one of my wall hangings, or just cut wood for a few days, I get a bad case of wood withdrawal and my body and mind start to crave for a fix! Yes, I am a sawdust Junky. -
Variation of Basic Density and Brinell Hardness Within Mature Finnish Betula Pendula and B
VARIATION OF BASIC DENSITY AND BRINELL HARDNESS WITHIN MATURE FINNISH BETULA PENDULA AND B. PUBESCENS STEMS Henrik Herujarvi Research Scientist Finnish Forest Research Institute Joensuu Research Centre P.O. Box 68 FIN-80101 Joensuu, Finland (Received November 200 1 ) ABSTRACT Thc objective of this study was to analyze the variation in basic density between different horizontal and vertical locations within mature Finnish Betula pendula and B. puhescens stems. In addition, the depen- dence of Brinell hardness in radial direction, which is of importance especially for the parquetry, veneer. and plywood industries, on the basic density was investigated. Furthermore, the sources of error in the Brinell hardness test according to EN 1534 were analyzed. Both basic density and Brinell hardness were measured from small. defect-free specimens. The average basic density of B. pendula and B. pubescerz.s were 5 12 kg/m3 and 478 kg/m3, respectively. Concerning both birch species, wood material near the pith was clearly less dense than near the surface of the stem. The average Brinell hardness of B. pendula spec- irnens was 23.4 MPa, and that of B. pubescens specimens was 20.5 MPa. Brinell hardness was found to be positively correlated with basic density. Therefore, the assumption that Brinell hardness varies within a birch stem similarly to basic density is confirmed. The test method according to the EN 1534 standard was found to hc precise enough hut unnecessarily laborious for hardness tests. Finally, an alternative method is s~~ggestedfor determining Brinell hardness on an industrial scale. Kryw,orti.c: Basic density. Brinell hardness, Betula pendul(~,Beruln puhescens, furnishing, parquet, veneer, plywood. -
List of Articles
THE LIZZADRO MUSEUM PUBLICATION INDEX OF ARTICLES Subject Description Issue Number of Pages AGATE. .. Beggar beads of India F-W 74-75 pg 10 2 . Lake Superior Spring 70 Q pg 8 4 ALEXANDRITE . & Synthetic alexandrite F-W 70-71 pg 13 2 . Gem with color change F-W 77-78 pg 19 1 AMBER . Description of carving F-W 71-72 pg 2 2 . Superstitions W-S 80 pg 18 5 . in depth treatise W-S 82 pg 5 7 AMETHYST . Stone & geode acquisitions S-F 86 pg 19 2 AUSTRALIA . & New Zealand F-W 71-72 pg 3 4 BAMBOO . Symbolism Winter 68 Q pg 8 1 BIRTHSTONES . Folklore of W-S 93 pg 2 13 . History of S-S 71 pg 27 4 . Garnet for January F-W 78-79 pg 20 3 . Amethyst for February F-W 78-79 pg 22 3 . Bloodstone & aquamarine for March S-S 77 pg 16 3 . Diamond for April S-S 77 pg 18 3 . Emerald for May S-S 77 pg 20 3 . Ruby for July F-W 77-78 pg 20 2 . Sapphire for September S-S 78 pg 15 3 . Opal & tourmaline for October S-S 78 pg 18 5 . Topaz for November S-S 78 pg 22 2 . Turquoise & zircon for December F-W 78-79 pg 16 5 CAMEOS . In-depth article Summer 68 Q pg 1 6 . More about cameos W-S 80 pg 5 10 . Italian cameos S-S 77 pg 3 3 . Of stone & shell W-S 89 pg 14 6 . Description of “Neptune” W-S 90 pg 20 1 CARNELIAN . -
(Together “Knife Rights”) Respectfully Offer the Following Comments In
Knife Rights, Inc. and Knife Rights Foundation, Inc. (together “Knife Rights”) respectfully offer the following comments in opposition to the proposed rulemaking revising the rule for the African elephant promulgated under § 4(d) of the Endangered Species Act of 1973 (“ESA”) (50 C.F.R. 17.40(e)) by the United States Fish and Wildlife Service (“the Agency”). Docket No. FWS–HQ–IA–2013–0091; 96300–1671–0000–R4 (80 Fed. Reg. 45154, July 29, 2015). Knife Rights represents America's millions of knife owners, knife collectors, knifemakers, knife artisans (including scrimshaw artists and engravers) and suppliers to knifemakers and knife artisans. As written, the proposed rule will expose many individuals and businesses to criminal liability for activities that are integral to the legitimate ownership, investment, collection, repair, manufacture, crafting and production of knives. Even where such activities may not be directly regulated by the proposed rule, its terms are so vague and confusing that it would undoubtedly lead to excessive self-regulation and chill harmless and lawful conduct. The Agency’s proposed revisions to the rule for the African Elephant under section 4(d) of the ESA (“the proposed rule”) must be withdrawn, or in the alternative, significantly amended to address these terminal defects: (1) Violations of the Administrative Procedure Act (“APA”) (Pub. L. 79–404, 60 Stat. 237) and 5 U.S.C. § 605(b) of the Regulatory Flexibility Act (“RFA”); (2) Violation of the Federal Data Quality Act (aka Information Quality Act) (“DQA”/”IQA”) (Pub. L. 106–554, § 515); (3) Violation of Small Business Regulatory Enforcement Fairness Act (“SBREFA”)(Pub. -
Oware/Mancala) Bonsai Trees
Carved game boards (Oware/Mancala) Bonsai Trees Raw glass dishware sintered rusted moodust “Luna Cotta” Hewn and carved basalt water features INDEX MMM THEMES: ARTS & CRAFTS (Including Home Furnishings and Performing Arts) FOREWORD: Development of Lunar Arts & Crafts with minimal to zero reliance on imported media and materi- als will be essential to the Pioneers in their eforts to become truly “At Home” on the Moon. Every fron- tier is foreign and hostile until we learn how to express ourselves and meet our needs by creative use of local materials. Arts and Crafts have been an essential “interpretive” medium for peoples of all lands and times. Homes adorned with indigenous Art and Crafts objects will “interpret” the hostile outdoors in a friendly way, resulting in pioneer pride in their surroundings which will be seen as far less hostile and unforgiving as a result. At the same time, these arts and crafts, starting as “cottage industries.” will become an important element in the lunar economy, both for adorning lunar interiors - and exteriors - and as a source of income through sales to tourists, and exports to Earth and elsewhere. Artists love free and cheap materials, and their pursuits will be a part of pioneer recycling eforts. From time immemorial, as humans settled new parts of Africa and then the continents beyond, development of new indigenous arts and crafts have played an important role in adaptation of new en- vironments “as if they were our aboriginal territories.” In all these senses, the Arts & Crafts have played a strong and vital second to the development of new technologies that made adaptation to new frontiers easier. -
Beech Lumber, Edged NHLA Standard
Grading Rules Beech lumber, edged l NHLA standard FAS FAS/1F METRIC METRIC Length 2,45 m Length 2,45 m Minimum width 150 mm Minimum width 150 mm INCHES INCHES Length 8 Length 8 Minimum width 6 Minimum width 6 Yield 83,33 % Yield 83,33 % Top quality. Both sides suitable for the Better side top quality. highest requirements. SEL BET Graded same like FAS/F1 but in mini- mum 100 mm width and 1.85 m length. METRIC Length 1,85 m Minimum width 100 mm INCHES Length 6 Minimum width 4 1 2 1 2 1 2 1 2 Yield 83,33 % 1 2 1 2 1 2 1 2 No. 1 COM No. 2 COM METRIC METRIC Length 1,85 m Length 1,85 m Minimum width 80 mm Minimum width 80 mm INCHES INCHES Length 6 Length 6 Minimum width 3 Minimum width 3 Yield 66,66 % Yield 50 % High yield, guaranteed at medium and long lengths. 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 Beech lumber, unedged l EOS standard A - grade B - grade METRIC METRIC Length 2,10 m Length 2,10 m Minimum width 32 mm 100 mm Minimum width 32 mm 100 mm (thickness) 32 mm 120 mm (thickness) 32 mm 120 mm INCHES INCHES Length 7 Length 7 Minimum width 5/4 mm 4 Minimum width 5/4 mm 4 (thickness) 5/4 mm 5 (thickness) 5/4 mm 5 1 2 1 2 1 2 1 2 1 2 1 2 C - grade Red Heart METRIC Same quality conditions as for C-grade, Length 90 % 2,10 m but red heart permitted. -
Pollmeier Grading Beech
Pollmeier grading Beech DISTRIBUTED BY Pollmeier beech. Our pre-sanding is your assurance. With traditional suppliers, you often only discover hidden faults after processing – when it’s already too late. At Pollmeier, we supply pre-sanded wood. This allows you to take a »deep look« into our lumber – literally – and can make a precise sorting judgement on quality. Your advantages • pre-sanding for perfect quality control • pre-grading for less waste • more efficient machining cycles for lower labour costs • Pre-sorted* or fixed widths* on request * Further information on pages 22 / 23 The optimal quality for every application – graded for you 04 · 05 1 Both faces / • mouldings Superior • staircases high demands • solid wood boards • furniture / kitchen furniture • parquetry / floors • distributor 06 · 07 2 Cabinet 08 · 09 3 Custom Shop 10 · 11 4 One Face / • staircases / wall strings / Superior steps with one visible face 1 Face high demands • tabletops / worktops / door edge bands / door frames / solid wood boards solely one face visible 12 · 13 5 • baseboards Cabinet/Custom Shop • floors 1 Face • distributor 14 · 15 6 Redheart Wood products that require colour: Superior Colour Redheart • floors natural (incl. red heart) • beech heartwood furniture • tabletops • distributor 16 · 17 7 Colour Redheart 18 · 19 8 without colour demands Hidden or overpainted wood parts: Superior Colour • painted mouldings • carcass assemblies • dowels / round rods • other wood products without 20 · 21 colour demands 9 Colour • distributor 22 · 23 10 Pollmeier special services • sorted to widths Pollmeier special services • ripped to widths Face The top quality from Pollmeier. The dominant features of this top quality are its high yield and minimised processing times. -
C. Woods for Interior Paneling
I INTHODUCTIDN Since the first settlers cleared the land and built log cabins, American families have been surrounded by woods. Wood is an important part of the roof over our heads, the walls around us, the floors under our feet, and the furniture that provides for our comfort. Wood will continue to be used for home interiors be cause of its warmth, comfort, and beauty. A knowledge of woods, their characteristics and limitations, and an ability to recognize them can be both profitable and satisfying. II CHARACTERISTICS Of WOOD A. Hardwoods-Softwoods Woods are divided into two general classes, soft woods and hardwoods. Softwoods come from conifers, the cone-bearing trees, such as pine, fir, cedar, spruce, and hemlock. The hardwoods are deciduous; some hardwood trees shed their leaves annually. Among the hardwoods are ash, oak, elm, beech, maple, cherry, hickory, and walnut. The terms hard and softwoods can be misleading, as some "hardwoods" are actually softer than some "softwoods." Oak is one of the most durable woods used in homes for finish work, trim, and furniture. Oak's dura bility makes it highly desirable for flooring and furni ture that must withstand heavy use. Other less expen sive woods such as pine and fir are used where strength is relatively less important. 3 B. Wood Colors and Porosity moisture. In summer when humidity is high, moisture Woods may be identified by observing three char content in woods may increase to 10 to 12 percent. acteristics-color, porosity, and density (degree of Though protective coatings of paint, varnish, or hardness).